Bibliografie tematiche / Hand-drawn animation

Letteratura scientifica selezionata sul tema "Hand-drawn animation"

Autore: Grafiati

Pubblicato: 22 giugno 2024

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Articoli di riviste sul tema "Hand-drawn animation":

Chen, Bing-Yu, Yutaka Ono e Tomoyuki Nishita. "Character animation creation using hand-drawn sketches". Visual Computer 21, n. 8-10 (31 agosto 2005): 551–58. http://dx.doi.org/10.1007/s00371-005-0333-z.

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Liu, Peng. ""Hand-drawn +3D" Disney Animation Film Artistic Adherence and Technological Innovation". Highlights in Art and Design 4, n. 3 (1 dicembre 2023): 17–18. http://dx.doi.org/10.54097/hiaad.v4i3.05.

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Throughout the long development of Disney's animated films for more than half a century, after experiencing the brilliance of the "hand-drawn animation era" and the downturn and hesitation of the "3D animation era", Disney opened up a new era of animated films with the new "3D+ hand-drawn" technology. Its breakthrough in production technology and the inheritance of animation art make it represent the highest level of today's animated films. This paper will try to explore the technical breakthrough and artistic inheritance of Disney's animated films through the brief tracing of Disney's animation production tradition, taking Frozen and Zootopia as examples.

Thesen, Thomas P. "Reviewing and Updating the 12 Principles of Animation". Animation 15, n. 3 (novembre 2020): 276–96. http://dx.doi.org/10.1177/1746847720969919.

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This article suggests a discussion on the reconfiguration of the 12 principles of animation and their necessary refinement for contemporary animation to address the growing complexity and expansion of the animation industry. The expansion of the 12 principles of animation into the various animation techniques requires a consideration of their development, which, in the 1930s and 1940s was sufficient for animation’s hand-drawn animation needs; since then, the principles have proven themselves accurate and incredibly helpful for subsequent decades. Nevertheless, this article indicates that a refinement of the principles is required to accommodate a broader range of animation techniques. The great advantage of the 12 principles of animation is their simplicity and logic; however, they do not apply in their entirety (as the full set of 12) to hand-drawn digital animation, stop-motion animation, experimental or digitally animated media. Therefore, this article explores the initial 12 principles with additions and variations suggested by artists and scholars over the last 30 years, and concludes with a reorganization and expansion of most of the principles’ content, a breakdown into sub points and an updated terminology to reconceptualize the 12 principles of animation for all animation techniques.

Xu, Jun, Xiang Li, Yangchun Ren e Weidong Geng. "Performance-driven animation of hand-drawn cartoon faces". Computer Animation and Virtual Worlds 22, n. 5 (14 marzo 2011): 471–83. http://dx.doi.org/10.1002/cav.372.

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Ling, Xufeng, Yu Zhu, Wei Liu, Jingxin Liang e Jie Yang. "The Generation of Articulatory Animations Based on Keypoint Detection and Motion Transfer Combined with Image Style Transfer". Computers 12, n. 8 (28 luglio 2023): 150. http://dx.doi.org/10.3390/computers12080150.

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Knowing the correct positioning of the tongue and mouth for pronunciation is crucial for learning English pronunciation correctly. Articulatory animation is an effective way to address the above task and helpful to English learners. However, articulatory animations are all traditionally hand-drawn. Different situations require varying animation styles, so a comprehensive redraw of all the articulatory animations is necessary. To address this issue, we developed a method for the automatic generation of articulatory animations using a deep learning system. Our method leverages an automatic keypoint-based detection network, a motion transfer network, and a style transfer network to generate a series of articulatory animations that adhere to the desired style. By inputting a target-style articulation image, our system is capable of producing animations with the desired characteristics. We created a dataset of articulation images and animations from public sources, including the International Phonetic Association (IPA), to establish our articulation image animation dataset. We performed preprocessing on the articulation images by segmenting them into distinct areas each corresponding to a specific articulatory part, such as the tongue, upper jaw, lower jaw, soft palate, and vocal cords. We trained a deep neural network model capable of automatically detecting the keypoints in typical articulation images. Also, we trained a generative adversarial network (GAN) model that can generate end-to-end animation of different styles automatically from the characteristics of keypoints and the learned image style. To train a relatively robust model, we used four different style videos: one magnetic resonance imaging (MRI) articulatory video and three hand-drawn videos. For further applications, we combined the consonant and vowel animations together to generate a syllable animation and the animation of a word consisting of many syllables. Experiments show that this system can auto-generate articulatory animations according to input phonetic symbols and should be helpful to people for English articulation correction.

Fujita, Kyosuke, Yuki Morimoto e Mikako Tomotari. "blobby: Generation of Fluid Style Effects in Hand-drawn Animation". Journal of the Society for Art and Science 20, n. 1 (30 marzo 2021): 40–44. http://dx.doi.org/10.3756/artsci.20.40.

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Poggiali, Jennifer. "Student responses to an animated character in information literacy instruction". Library Hi Tech 36, n. 1 (19 marzo 2018): 29–42. http://dx.doi.org/10.1108/lht-12-2016-0149.

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Purpose This paper reports on a grant-funded project to create a hand-drawn, custom-made animated character named Jasmyn. Drawing on animation theory, the purpose of this paper is to use qualitative research to investigate student responses to the medium of animation, the character’s design, and three presentation strategies. Design/methodology/approach The researchers held three student focus groups to investigate the following research questions: Will students endorse animation as a medium for library instructional videos on the grounds of its entertaining, subversive, or playful qualities? Is Jasmyn designed and written in a way that engages students and compels them to respond to her as a character? How will students respond to three presentation strategies: a lecture-style video, a video with supplemental animations, and a real-time, interactive lesson? Findings The researchers found that students expressed broad enthusiasm for animation as a medium, though responses to Jasmyn’s personality were mixed. The only presentation strategy that prompted unique responses was the interactive session, although all three focus groups provided revealing commentary about online learning. Students also identified aspects of the animation and character that could be improved, and reflected on ways Jasmyn might be integrated into online learning. Research limitations/implications This study, performed as part of a pilot project, was deliberately small in scale. Clearer implications would emerge from repetition with a larger group of students. Originality/value Jasmyn may be the only hand-drawn, custom-made animated character created for library instruction. No research studies on the use of animation in libraries have been published to date.

Goss, Jacqueline. "Drawing Voices". Animation 6, n. 3 (novembre 2011): 247–58. http://dx.doi.org/10.1177/1746847711416563.

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This article presents a series of images, transcriptions, and musings on the making of Stranger Comes To Town (2007): an animated documentary that centers on the stories of six immigrants and visitors to the United States who describe their experiences crossing the border. The author chooses 10 images that are accompanied by transcriptions of each interviewee’s statements. She follows each pairing with a musing on either the process of making the animation – what she gleaned about the interviewee from the process of syncing a fabricated image to a ‘real’ voice, the different ways voice and text can play off each other in animation – or the (still surprisingly) subversive gesture of using subjective hand-drawn animations in documentary form.

Haswell, Helen. "To infinity and back again". Alphaville: Journal of Film and Screen Media, n. 8 (9 febbraio 2015): 24–40. http://dx.doi.org/10.33178/alpha.8.02.

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In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. La Luna (Enrico Casarosa) marks a pivotal shift in Pixar's short film canon by displaying hand-drawn artwork and man-made textures. Widely considered the innovators of computer-generated animation, Pixar is now experimenting with 2D animation techniques and with textures that oppose the clean and polished look of mainstream American animation. This article aims to outline the significant technological developments that have facilitated an organic aesthetic by suggesting that nostalgia dictates a preference for a more traditional look. It will also argue that this process pioneered by Pixar has in turn influenced the most recent short films of Walt Disney Animation Studios.

Zhe, Wang, e Hassan Alli. "CROSSOVER AND EXTENSION OF HAND-DRAWN MAP IN HERITAGE TOURISM: A CASE STUDY". New Design Ideas 8, n. 1 (6 aprile 2024): 169–83. http://dx.doi.org/10.62476/ndi81169.

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In the realm of thematic map development, hand-drawn maps tailored for tourism hold considerable significance. Nonetheless, their progress is impeded by inherent limitations and challenges, thereby constraining their potential advancement. Concurrently, the emergence and progression of computer and network technology have furnished a proficient platform for fostering interdisciplinary growth in the realm of hand-drawn cartography. The aim of this study is establishing a customized, culturally relevant, metaphorical and de-identified design framework for enhancing visualization in digital interactions, drawing upon the universal design principles inherent in traditional animation. A comprehensive depiction of the design workflow, along with intricate design particulars pertaining to each stage, was demonstrated through a case study centered on the hand-drawn style drawing and map design for Dahuaishu Ancestor Memorial Garden. By adopting such a design framework, the potential outcome entails a more user-friendly and captivating means of disseminating information within digital tourist maps of the same genre. This approach preserves the inherent merits of hand-drawn maps while simultaneously broadening their scope and capabilities.

Più fonti

Tesi sul tema "Hand-drawn animation":

Williamson, Naomi, e naomiruthwilliamson@mac com. "The Drawn Subject: Meaning and the Moving Drawing". RMIT University. Art, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080617.142838.

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Using the vehicle of hand drawn animation, this is an ongoing reflection of instances that repeat themselves to a point beyond the humorous and back. The Myth of Sisyphus 'The Gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back on its own weight. They had thought with some reason that there was no more dreadful punishment than futile and hopeless labour.' Albert Camus- The Myth of Sisyphus By observing and illustrating assiduous daily gestures and events our absurd hero is revealed: this protagonist, be it object or human consciously and often unconsciously lives within a relentless finite experience. As the same moment is duplicated, the

Nilsson, Morgan, e Andreas Lundmark. "2D Aesthetics with a 3D Pipeline : Achieving a 2D Aesthetic with 3D Geometry". Thesis, Uppsala universitet, Institutionen för speldesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-324678.

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This thesis evaluates and tests different methods utilized to produce a 2D aesthetic within a 3D pipeline, as in, converting 3D geometry to an aesthetic that is similar to hand-drawn classic films such as Snow White And The Seven Dwarfs. This thesis explores methods to produce both exterior and interior lines that indicate shape and form of 3D models, the conclusion from the tested methods leaves with the statement that it is unlikely the human factor will be ever entirely replaced by automated solutions, and instead a mixed approach with shader relied solutions and involvement of texturing techniques which provides artistic controls where necessary, is deemed to be the most effective way of preserving the hand-drawn 2D aesthetic within a 3D-pipeline.

Ben, Nun Yaël. "Les dessins animés de Satoshi Kon : une esthétique du trompe-l’œil". Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080056.

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Figure majeure de l’animation japonaise, le réalisateur Satoshi Kon (12/10/1963 – 24/08/2010) propose une œuvre unique qui interroge les conventions qui régissent les films d’animation. Par une analyse esthétique, qui tient compte des spécificités du dessin animé et du contexte socio-culturel de la production, cette recherche interroge les mécanismes au cœur de sa démarche. Par l’alliance d’une esthétique graphique et d’une esthétique de la prise de vues réelles, Satoshi Kon développe un ensemble de dispositifs qui questionnent l’idée de la représentation, notre rapport aux images et à la réalité. A ce titre, le cinéaste s’inscrit dans la tradition artistique du trompe-l’œil – notion employée initialement par le producteur Taro Maki. L’analyse approfondie de l’œuvre de Kon permet d’identifier les dispositifs qui forment les procédés de trompe-l’œil, structurant sa démarche. Ceux-ci, s’articulent autour de trois figures récurrentes dans son œuvre : 1) le miroir et les écrans, 2) les images mentales, 3) le monde du spectacle. Servant de lieux de contact entre la réalité et l’imaginaire dans ses films, ces figures multiplient les niveaux de représentation entre lesquels le réalisateur déplace le spectateur. Fréquentes dans le cinéma en prises de vues réelles, Kon les retravaille et les enrichie par le dessin animé. La puissance symbolique de ces images véhicule, de manière subtile, son discours sur la société japonaise contemporaine qui transparaît tant au niveau narratif que formel. Cette thèse offre ainsi une nouvelle lecture de l’œuvre de Satoshi Kon, tout en contribuant à une réflexion plus large sur le médium et sur sa relation avec le cinéma en prises de vues réelles
Major figure of Japanese animation, the filmmaker Satoshi Kon, offers a unique body ofwork that questions the conventions at the heart of the animation production. Through anaesthetic analysis that takes into account the characteristics of hand-drawn animation andthe socio-cultural context of the production, this research examines the mechanisms atthe core of Kon’s approach to filmmaking.By combining a graphic aesthetic with an aesthetic originated in live action films, SatoshiKon develops a set of devices that question the nature of visual representation, ourrelationship to images and to reality. Thus, his approach places him within the artistictradition of trompe-l’oeil– a term initially used to describe his films by producer TarôMaki.Through the detailed analysis of Kon’s films, it is possible to identify the devices formingthe methods of trompe-l’oeil that structure his approach. Built around three recurringfigures in his films: 1) mirror and screens, 2) mental images, 3) the world ofentertainment; these figures form spaces where the reality and the imaginary meet,multiplying the layers of representation through which the viewer is transported by thefilmmaker.Commonly depicted in live action films, Kon reshapes and enriches these figures throughthe art of hand-drawn animation. The powerful symbolism produced by these imagessubtly delivers Kon’s views on contemporary Japanese society, expressed both on anarrative and on a formal level. Therefore, this thesis offers a new interpretation of thework of Satoshi Kon, while contributing to a larger debate on the medium of animationand its relationship with live action cinema

CHANG, CHIH-CHIEH, e 張智捷. "Motion Interpolation for Hand-Drawn Animation". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/3v8axs.

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碩士
玄奘大學
資訊管理學系碩士班
106
The Frame Rate Up Conversion that improves motion picture refresh rate and motion blur in order to display the good quality of motion picture. The Motion interpolation or motion-compensated frame interpolation (MCFI) is a form of video processing in which intermediate animation frames are generated between existing ones by means of interpolation, in an attempt to make animation more fluid and to compensate for display motion blur. The existing motion interpolation algorithm that has focus on video improvement, but it is not good enough for hand-drawn animation operation. The purpose of this study was to investigate hand-drawn animation of motion interpolation algorithm including : a.The hierarchical motion estimation to refinement of animation image vector. b.Search radius is automatically adjusted proportionally. c.Raise the limit value of the scene change detection to improve the fluency. After a large number of experimental comparisons, the conclusion was that the new algorithm not only improves hand-drawn animation image smoothly but also reduces artifacts impact. It also got more accurate matching blocks in the animation.

Hung, Jui-Chieh, e 洪睿杰. "Applied the Existentialism in Hand-drawn Animation". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/07383099113231759564.

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Chen, Yi-Chi, e 陳奕奇. "Presenting Classical Allegory with Hand-drawn Character Animation". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/3854am.

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碩士
臺中技術學院
多媒體設計系碩士班
98
Original story and character are one of the attractive compositions in term of animation or interactive media. This situation can be verified from the popular game and comics which are produced by USA and Japan. However, when we examine the history of digital content development in our country, the design results of original story and character are not satisfactory. It is not to mention that we have never produced the popular game and animation with local culture. Therefore, this project is based on the design principle with “innovative style of classical elements” for drawing by hand-painted techniques to create characters and situations. The creation is emphasized on the manipulating of emotional and interesting elements to interpret Poetry and Fable. It is looking forward to highlight the characteristics and image of original character through impressive animation. In order to challenge the diverse character design, the variant human characteristics are performed, such as hammer, tolerance, graceful, simple, banal, petty, greedy, and cunning, etc. The subjects of serial creation were selected from classical Poetry-Guanju and Bringing in the Wine, and some of fables like the Monk Eating Shrimps, which have significantly different characteristics of protagonists. In the creation process the characteristics, appearance, action and inner character of a protagonist is analyzed firstly. The inner and external features of a character can be generalized as the basis for the character setting. Followed, it is integrated with the situation analysis of text and then developed the specific scenes and images of the animation. Finally, the characters are created in the abundant condition of subject. The animations of serial creation have been combined into the advanced learning content of Teaching Chinese as a Second Language. It can be used as the basic curriculum for learners to explore the Chinese culture. Therefore, it will reach the goal where the situations of literatures are presented and the classical cultures are inherited

Yu, Chia-Hui, e 余佳慧. "A Key-Frame Animation System for Hand-Drawn Image". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/05796392149556699389.

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碩士
國立花蓮教育大學
鄉土文化學系碩士班
95
Inbetweening is very important in animation and movies. The thesis constructs an automatic system based on Inbetweening technique. After analyzing and drawing the curves, we convert two hand-drawn images into a smooth animation with colored shape. It is very sensitive after thinning. In order to get an accurate traveling order, we develop a strong tracing algorithm to solve simple image’s matching problem. Moreover, we use Bézier to approximate these curves, and use least square error estimation to find a control point. Finally, we have completed an animation.

ZONG-HAN, HE, e 何宗翰. "Flowing Time of Self-Consciousness: Hand-Drawn Animation Creation". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/aq5ep8.

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碩士
實踐大學
時尚與媒體設計研究所
102
Time is an abstract phenomenon. As a result that people can not be sensible of any omen of time. But it was the state of existing in reality. We tried to invent various timekeepers until the flowing time could be under control. Because of this, people’s life were sticking on the suppositional way with instrument. And the behavior of observing time had become to a natural reaction for now. Time flies when you are having fun, and it drags whatever you don’t want. Perhaps time is not really precise that we imagined. And maybe it has more possibility or elasticity. In fact, we watched time not only for controlling the determination of life, but also for fearing the regrets in our life. In this project, I tried to use the mono-colored and hand-drawn style, my favorite technique of expression, to create a drastically flowing of time.

Lin, Yi-Hsiu, e 林怡秀. "The Artist Statement of the Hand-drawn Animation "Dream"". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/49658237177679390026.

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碩士
國立交通大學
應用藝術研究所
103
This thesis describes the making of a hand-drawn animation〈Dream〉,which reveals five issues of dream with poetic words , scenes with imagination and bizarre storyline：The beginning of dream, the revealing of secrets, the implication, the relationship between me and dream, and the ending of dream. In the first chapter, core concept comes first：The importance of honesty and dream is to me, and the reason why I choose animation to express this topic. Then I explained how “Dream” was inspired by the three animations in form and visual style. After introducing the producing process, comparison chart helps to provide a full vision of the animation structure including act, scene and the copywriting, and lead to a full understanding by providing details of the ten scene which includes key elements and the symbolic meanings in chapter three. Next chapter is about the concept and implementation of the exhibition display. And the last chapter brings out what the author earned in this project.

CHENG, FO-YING, e 成佛影. "A Study of the Light Realism Hand-drawn Animation". Thesis, 2019. http://ndltd.ncl.edu.tw/handle/6w97m5.

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Libri sul tema "Hand-drawn animation":

Dobson, Terence. “bump … bup … bup”. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0005.

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Norman McLaren was a prolific and innovative filmmaker for almost half a century. During this time, his experimentation with image, sound and the physicality of filmmaking produced groundbreaking examples of audiovisuality that form pivotal moments in the history of experimental film. His sonic innovations, developed using the optical soundtrack area of movie film, initially stemmed from utilitarian considerations, yet his application of his innovations transcended these mundane beginnings. Through an examination of his belief in the importance in his films of the visual-sonic relationship, and of his philosophical approach to his filmmaking, and further, of his manner of working, an understanding of McLaren’s unique filmic journey is approached. McLaren’s hand-drawn sound and card method of animating sound is discussed through such films as his Dots, Loops, Neighbours and Synchromy.

Capitoli di libri sul tema "Hand-drawn animation":

Lescher, Mary E. "Traditional or Digital: It’s All Hand-Drawn (1989–1990)". In The Disney Animation Renaissance, 47–70. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044779.003.0003.

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Chapter 2 demonstrates how the Florida studio began operating in much the same way as Walt Disney’s studio during the 1930s and 1940s, primarily utilizing hand-drawn cel animation. This chapter presents a comparative analysis of two films that demonstrate the initial departure from that pipeline, the simultaneous production of The Prince and the Pauper (1990), a featurette distinguished as the last cel animation created at Disney, and The Rescuers Down Under (1990), the first feature-length film produced entirely with the new Computer Animated Production System (CAPS). While much of today’s scholarship focuses on the dominance of computer-generated imagery (CGI), this chapter is interested in identifying the interconnectivity and hybridity of the two working processes, hand-drawn and computer, as artists relied on the best of both methods. The computer initially occupied a supporting role in the animation creation process instead of a starring one.

Whitaker, Harold, John Halas e Tom Sito. "Timing for a Hand-Drawn Film: Exposure Charts or Exposure Sheets". In Timing for Animation, 40th Anniversary Edition, 23. 3^a ed. CRC Press, 2021. http://dx.doi.org/10.1201/9781003139706-13.

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Lescher, Mary E. "Postscript". In The Disney Animation Renaissance, 175–80. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044779.003.0007.

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The postscript gives some details of what happened with Walt Disney Feature Animation after the close of the Florida studio, including the acquisition of Pixar in 2006. Also, the animation industry in general is showing signs of hand-drawn animation returning to prominence, although artists are now drawing directly into the computer (via tools like the Cintiq) rather than on cels.

Lescher, Mary E. "Shutting Down the Studio (2000–2004)". In The Disney Animation Renaissance, 133–74. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044779.003.0006.

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By chapter 5, computer-generated imagery has led to the end of the Disney Renaissance. This chapter heralds the passing of the second golden age, marked by the upheaval of Disney’s executive board, and illustrates the continuing development in technology by examining the Florida studio’s other theatrical releases, Lilo and Stitch (2002) and Brother Bear (2003). By the time the Florida studio closed, almost fifteen years after the premiere of The Little Mermaid, traditional hand-drawn animation production had all but ceased at Disney, and CGI was regarded as the cutting edge in feature film entertainment. With the termination of animation production in the Magic of Disney Animation theme park attraction and the removal of the artists, the attraction was redesigned to offer a new kind of theme park experience based on interactive experience.

Tamari, Tomoko. "Moving Images and Human Perception: Affect in Hand-Drawn Animation and Computer-Generated Imagery". In Human Perception and Digital Information Technologies, 62–85. Bristol University Press, 2024. http://dx.doi.org/10.56687/9781529226201-008.

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Smith, Todd L., e Scot Ransbottom. "Digital Video in Education". In Distance Learning Technologies, 124–42. IGI Global, 2000. http://dx.doi.org/10.4018/978-1-878289-80-3.ch010.

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Use of technology to support education is by no means a new concept. Educators have for centuries looked for tools to help stimulate the senses and enhance their students’ learning. Though lectures are still the predominant means of delivering material, multimedia is pervasive in educational institutions. For clarity, multimedia is considered the combination of text, graphics, audio, animation and video through electronic means (Vaughan, 1998). This chapter is concerned primarily with video. The methods for creating videos and the means of delivery continue to change with technological advancements. The earliest educators brought sample objects or hand drawn representations to the classroom in order to provide a visual perspective and enhance understanding. In the mid-1900s, educators began to use analog video signals to show tapes or live shows that were again intended to enhance students’ understanding. Today, computing systems are capable of storing and presenting video content on a one-to-one or one-to-many bases. The key issue is whether the expense and effort associated with multimedia, and specifically, digital video is worthwhile. In this chapter, we discuss the use of digital video in the modern classroom with a focus on learning. Specifically, we base the discussion on Felder’s Learning Model, Bloom’s Taxonomy , and Kolb’s Learning Cycle. First, the Background Section briefly describes these theories and provides some basic information on digital video. Second, we describe a classroom that was constructed to support digital video and detail performance issues. Finally, we discuss the synergy of video in education. The underlying questions that will be explored are (1) How should we use digital video? and (2) What are the technological constraints?

Atti di convegni sul tema "Hand-drawn animation":

Kaiser, Paul. "Hand-drawn spaces". In ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281884.

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Buck, Ian, Adam Finkelstein, Charles Jacobs, Allison Klein, David H. Salesin, Joshua Seims, Richard Szeliski e Kentaro Toyama. "Performance-driven hand-drawn animation". In the first international symposium. New York, New York, USA: ACM Press, 2000. http://dx.doi.org/10.1145/340916.340929.

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Buck, Ian, Adam Finkelstein, Charles Jacobs, Allison Klein, David H. Salesiny, Joshua Seims, Richard Szeliski e Kentaro Toyama. "Performance-driven hand-drawn animation". In ACM SIGGRAPH 2006 Courses. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1185657.1185865.

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Fujita, Masaki, e Suguru Saito. "Hand-drawn animation with self-shaped canvas". In SIGGRAPH '17: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3102163.3102212.

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Fang, Liu. "The application of Flash in the hand-drawn animation". In 2012 International Conference on Image Analysis and Signal Processing (IASP). IEEE, 2012. http://dx.doi.org/10.1109/iasp.2012.6425053.

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Keech, Kim, Rachel Bibb, Brian Whited e Brett Achorn. "The role of hand-drawn animation in Disney's Moana". In SIGGRAPH '17: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3084363.3085079.

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Li, Shuzeng, Bing Liu e Xuefang He. "Prospect Analysis of Hand-drawn Animation under Digital Technology". In Proceedings of the 2018 4th International Conference on Social Science and Higher Education (ICSSHE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icsshe-18.2018.183.

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Gupta, Heena, e Parag Chaudhuri. "SheetAnim - From Model Sheets to 2D Hand-drawn Character Animation". In International Conference on Computer Graphics Theory and Applications. SCITEPRESS - Science and Technology Publications, 2018. http://dx.doi.org/10.5220/0006514100170027.

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Wang, Qian. "Research on New Development of Hand-drawn Animation in New Media Era". In 2nd International Conference on Electronics, Network and Computer Engineering (ICENCE 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icence-16.2016.185.

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Dvorožňák, Marek, Saman Sepehri Nejad, Ondřej Jamriška, Alec Jacobson, Ladislav Kavan e Daniel Sýkora. "Seamless reconstruction of part-based high-relief models from hand-drawn images". In Expressive '18: Joint Symposium on Computational Aesthetics and Sketch Based Interfaces and Modeling and Non-Photorealistic Animation and Rendering. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3229147.3229153.

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